1. The
Film
Industry
Project
Diane
Rivera
Estella
Introduc:on
to
Digital
Cinematography
01.11.2015

2. Introduc:on-­‐
The
Producer’s
Business
Handbook
• This
book
is
a
well
explained
guide
for
producers,
in
which
all
the
components,
trends
and
elements
of
what
is
to
be
a
successful
producer
are
men:oned
in
full
detail.

3. Chapter
1:
How
the
Mo/on
Picture
Func/ons
• Each
category
is
successful
because
they
have
a
perspec:ve
of
how
the
whole
industry
operates
and
keeping
that
in
mind
they
are
con:nuously
improving
their
posi:on
inside
of
it.
10
Mo/on
Picture
Industry
Par/cipants
with
whom
the
producer
have
interrela/onships
• Audience
• Distributors
• Producers
• Retailers
and
licensed
media
• Interna:onal
territories
• Financing
par:cipants
• Distributor
subcontractors
• Produc:on
talent
and
subcontractors
• Ancillary
media
and
licensees
• Major
consumer
brands

4. Chapter
2:
U.S.
Theatrical
Distributors
The
Studio
Distributors:
The
Majors
They
are
well
evolved
self
contained
en::es.
United
States
is
the
country
where
the
people
spent
more
money
going
to
the
movies
than
any
other
country
in
the
world.
Three
tradi/onal
rela/onship
categories
engage
with
independent
producers:
• In-­‐
house
studio
produc:on
• Nega:ve
pickup
• Distribu:on
agreement
Major
studio
distributors
are
the
greatest
advocates
of
independent
producers.

5. Chapter
3:
Interna/onal
Territories
There
are
eight
big
film
markets
that
their
audiences
spend
more
on
mo/on
picture
entertainment
than
any
other
territories.
Those
are:
• United
States
• Japan
• United
Kingdom
• France
• Germany
• Spain
• Australia
• Italy

6. Chapter
4:
Internet
Marke/ng
and
DIY
Distribu/on
The
internet
has
revolu/onized
the
marke/ng,
distribu/on
and
consump/on
of
film
entertainment.
Some
of
the
op/ons
for
distribu/on
are:
• Digi/zed
Content
• Social
Media
Marke/ng
• Mul/plaOorm
Marke/ng
These
op:ons
are
beneficial
for
the
producers
and
many
advantages
can
be
taken
by
u:lizing
those
strategies

7. Chapter
5:
Ancillary
Windows,
Rights,
and
Products
There
are
four
major
ancillary
windows:
• Home
entertainment
• Premium
cable
• Network
television
• Cable/Syndicated
television
Producers
rely
on
ancillary
earnings
they
rarely
forecast
profits
from
the
theatrical
distribu/on
of
their
pictures.

8. Chapter
6:
Mo/on
Picture
Financing
A
group
of
banks
specialized
in
financing
Films
is
dedicated
to
give
the
opportunity
to
whom
shine
between
many
others
presen/ng
their
pitch
ideas.
Those
banks
evaluate
their
customers
using
different
criteria,
a
different
way
to
evaluate
not
using
the
conven/onal
process.

9. Chapter
7:
Produc/on
Incen/ves
Produc/on
incen/ves
are
a
key
of
almost
any
film
produc/on
made
in
the
U.S.
Governmental
support
have
become
an
important
feature
in
film
produc/on.
Government
bring
incen/ves
in
order
to
collaborate
to
the
economy
growth.

10. Chapter
8:
Comple/on
Guarantors
The
Comple:on
Guarantor
ensures
that
the
mo:on
film
is
going
to
be
completed
on
:me.

11. Chapter
9:
AZorneys,
Nego/a/ons,
and
Entertainment
Law
This
group
brings
legal
services
to
the
entertainment
industry.
The
aXorney
is
involved
in
most
aspects
of
a
producer’s
work.

12. Chapter
10:
Talent,
Agents,
and
Agencies
Great
mo:on
pictures
are
created
by
a
team
of
ar:sts
who
contribute
with
their
talent
to
the
crea:on
of
a
masterpiece.
Agents
and
agencies
are
the
intermediaries
between
the
producer
and
the
talent.
The
rela:onship
between
the
producer
and
the
ar:st
is
s:ll
personal.

13. Chapter
11:
Development,
Produc/on,
and
Producing
Company
Structures
The
purpose
of
company
structure
is
to
do
the
following:
• Provide
the
business
en:ty
with
a
legal
iden:ty
recognized
by
the
government.
• Establish
an
independent,
tangible,
tradable,
business
presence
with
the
capacity
to
increase
in
value.
• Deliver
company
owners
increased
business/trading
capaci:es,
legal
protec:on,
and
expanded
taxa:on
op:ons.

14. Chapter
12:
Development
Financing
Development
Funding
Sources:
• The
produc:on
company
• A
studio
• Private
investors
• Co-­‐produc:on
rela:onships
• Government
agencies
Producers
needs
to
plan
their
film
in
every
aspect
of
it
an
this
is
in
order
to
keep
advancing
in
a
confident
and
steady
pace.
This
development
need
to
con/nue
through
the
produc/on
and
distribu/on.

15. Chapter
13:
The
Team
Internal
and
external
players
who
are
advisory
and
opera:ng
teams
of
the
produc:on
and
development
opera:ons.
Advisory
Team
• Entertainment
Bank
Execu:ve
• Entertainment
AXorney
• PR/Adver:sing
Execu:ve
• Distribu:on
or
Interna:onal
Sales
Execu:ve
• Physical
Produc:on
Specialist
• Comple:on
Bond
Exacu:ve
• Entertainment
Accountant
Producer
• Development
VP
• Global
Sales
VP
• PR/Adver:sing
VP
• Business
Affairs
VP
• Finance
VP

16. Chapter
14:
Produc/on
Company
Opera/on
“As
dexterity
increases,
so
does
confidence.
As
this
occurs,
one
has
a
natural
tendency,
especially
under
pressure(and
producers
operates
under
extreme
condi:ons),
to
cut
opera:ng
corners
and
increase
corners
opera:ng
speed”.

17. Chapter
15:
The
Producer’s
Business
All
the
areas
that
are
components
of
a
film
process
are
supervised
by
the
producer.
Those
areas
are:
• Mul:ple
Picture
Management
• Time
and
budget
economies
• Distributor
Rela:onships
• Agents
• Banks
and
comple:on
guarantors
• Sales
Events
• Establishing
the
produc:on
company
presence
• Sustaining
business,
ar:s:c,
and
personal
objec:ve
balance
• Managing
library
pictures
• Theatrical
Re-­‐release
• Advancing
team
vitality
and
allegiance
• Chapter
Postscript

18. Chapter
16:
Reports,
Data,
and
Producer’s
Principles
Producer
Success
Principles
• Story.
Producing
a
quality
story
• Target
audiences
• Balance
• Talent
• Global
distribu:on
• Development
• Financing
• Entertainment
Law
• Produc:on
Company
Team
• Living
a
full
life

19. Resources-­‐
I
do
not
claim
ownership
of
any
images
in
this
presenta:on
• No
service
tax
for
film
industry.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://chennaionline.com/movies/cine-­‐buzz/20134301044343/No-­‐service-­‐tax-­‐for-­‐film-­‐industry.col
• 7
Unrealis:c
Expecta:ons
of
Film
Industry
Jobs.
(2011,
July
8).
Retrieved
January
11,
2015,
from
hXp://www.theblackandblue.com/2011/07/08/film-­‐career-­‐expecta:ons/
• GCAA.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://gcaa.org/members-­‐area/members/associate/mo:on-­‐industries-­‐inc/
• The
Film
And
Entertainment
Industry:
Reel
In
The
Profits.
(2013,
October
14).
Retrieved
January
11,
2015,
from
hXp://www.bidnessetc.com/20818-­‐film-­‐entertainment-­‐industry-­‐reel-­‐profits/
• Oscars
telecast
audience
revised
up,
highest
in
14
years.
(2014,
March
4).
Retrieved
January
11,
2015,
from
hXp://www.themalaymailonline.com/showbiz/ar:cle/oscars-­‐telecast-­‐audience-­‐revised-­‐up-­‐highest-­‐in-­‐14-­‐
years
• Fox,
K.
(n.d.).
Signg
PreXy.
Retrieved
January
11,
2015,
from
hXp://www.theguardian.com/film/2009/jun/
21/great-­‐movie-­‐venues-­‐worldwide
• PHOTOS:
Remember,
remember
the
Fiih
of
November
|
9news.com.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://archive.9news.com/news/ar:cle/363029/328/PHOTOS-­‐Remember-­‐remember-­‐the-­‐Fiih-­‐of-­‐
November

20. Images
References-­‐
I
do
not
claim
ownership
of
any
images
in
this
presenta:on.
• Cinema
Public
Films
:
From
distribu:on
of
films
aimed
at
young
audiences
to
educa:on
based
on
the
moving
image.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.europa-­‐cinemas.org/en/News/Highlights/Cinema-­‐Public-­‐Films-­‐From-­‐distribu:on-­‐of-­‐films-­‐
aimed-­‐at-­‐young-­‐audiences-­‐to-­‐educa:on-­‐based-­‐on-­‐the-­‐moving-­‐image
• Film
Middle
East
Now.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.middleastnow.it/now/en/middle-­‐east-­‐now-­‐award-­‐winner-­‐the-­‐iranian-­‐movie-­‐facing-­‐
mirrors-­‐2/
• Is
there
an
audience
lei
for
independent
film
in
Spain?
(n.d.).
Retrieved
January
11,
2015,
from
hXp://elpais.com/elpais/2013/04/23/inenglish/1366722094_003838.html
• Cinema
fascina:on.
(2014,
August
30).
Retrieved
January
11,
2015,
from
hXps://digitaldisclosure.wordpress.com/2014/08/31/cinema-­‐fasnica:on/
• Wim
Wenders
Meets
the
Audience
during
the
9th
Rome
Film
Fes:val
on...
News
Photo
457485416.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.geXyimages.co.uk/detail/news-­‐photo/wim-­‐wenders-­‐meets-­‐
the-­‐audience-­‐during-­‐the-­‐9th-­‐rome-­‐film-­‐news-­‐photo/457485416

21. Image
References-­‐
I
do
not
claim
ownership
of
any
images
in
this
presenta:on.
• Film
Marke:ng
&
Distribu:on
Company
|
Los
Angeles.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.novuscontent.la
• DeMers,
J.
(n.d.).
The
Top
10
Benefits
Of
Social
Media
Marke:ng.
Retrieved
January
11,
2015,
from
hXp://www.forbes.com/fdc/welcome_mjx.shtml
• POV
Blog.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.pbs.org/pov/blog/2013/12/for-­‐filmmakers-­‐diy-­‐digital-­‐distribu:on-­‐plaporms/#.VLHscorF_uU
• ROI
Insight:
"What's
in
the
Box"
Office
of
Gone
Girl
Director
David
Fincher's
Films?
‹
SSN
Insider.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.ssninsider.com/roi-­‐insight-­‐whats-­‐in-­‐the-­‐box-­‐office-­‐of-­‐gone-­‐girl-­‐director-­‐david-­‐finchers-­‐films/
• Oregon
Film
Responds:
Without
Incen:ves,
Say
Goodbye
to
Film
Produc:on
in
Oregon.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.portlandmercury.com/BlogtownPDX/archives/2011/02/10/oregon-­‐film-­‐responds-­‐we-­‐need-­‐incen:ves-­‐
or-­‐say-­‐goodbye-­‐to-­‐film-­‐produc:on-­‐in-­‐oregon
• Agency.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://filmescape.com/category/agency
• 1
Execu:ve
Summary.
(2007,
June
8).
Retrieved
January
11,
2015,
from
hXp://www.strategyanaly:cs.com/reports/vg5d52vcWt/single.htm
• Rou:nes
and
Rituals.
(n.d.).
Retrieved
January
11,
2015,
from
hXp://www.peterfuda.com/wp-­‐content/uploads/2014/07/Embed-­‐Rou:nes-­‐and-­‐Rituals.jpg